Wednesday, July 29, 2015

Cat Eyes 1930

Thursday, July 23, 2015

Wednesday, July 22, 2015

Joakim Ojanen


Saturday, July 18, 2015

Cole-Bros-1937-Lot-Scene-Elephant-in-Harness

Thursday, July 16, 2015

The Cruel Truth About Rock And Roll

 Last week, a story about Jackie Fuchs, centered around her account of being raped by the late music entrepreneur Kim Fowley in a motel room full of people on New Year's Eve in 1975, challenged the very idea that rock and roll is something worth loving. Fuchs's account hit the music world like a bomb that obliterated all taste of cherry from our mouths, demanding the acknowledgment of certain painful facts from anyone who loves 1970s pop culture, that groundbreaking all-female band in particular, or the romantic notion that music celebrating and enacting sexual openness is a force for freedom and empowerment. (Full disclosure: I'm one of those people.)
Like any secret laid bare after years of only furtive acknowledgment, this one has disrupted many lives and caused reactions ranging from rage to self-righteous moralizing to Fuchs's own remarkably generous forgiveness of those who knew something terrible had happened but didn't directly respond. (Here's a good, if incomplete, roundup of responses.) Fowley's reputation is now rightly destroyed. Other Runaways members and people involved with the band have come under fire and responded. (One of them, Runaways biographer Evelyn McDonnell, is my friend and longtime collaborator, and her comments have expanded the discussion in important ways.) As others shared crucial truths or pontificated, Fuchs herself, now a lawyer, employed her own great eloquence to call for the focus to remain on "holding rapists, abusers and bullies accountable." Several commenters have mentioned that the 1970s was a time when the exploitation of very young women was often in the media, citing the famous examples of the groupie milieu surrounding Led Zeppelin and the statutory rape case that exiled film director Roman Polanski from the U.S. Full NPR story here.

Monday, July 13, 2015

Saturday, July 11, 2015

Elizabeth Freeman, Time Bends: Queer Temporalities, Queer Histories

“The Monster is, significantly I think, given no name. He is referred to variously as fiend, daemon and monster; though from the time of the book’s appearance it has been a common error to call the Monster ‘Frankenstein.’ This is not really a surprising error, since the relationship of identity and conflict between the Monster and Frankenstein tends to show that the creature is a projection of his creator. The two are complementary yet antithetical figures; for the rational faculty which Frankenstein has lost can be found in the Monster, who is a symbol of the intellect. The Monster is also shown as the perpetrator of evil motivated by revenge for Frankenstein’s neglect of him. And I suggest his conflict with Frankenstein represents the forces which, by the beginning of the nineteenth century, had started to pit reason against imagination, instinct, faith. Mary Shelley equated those rational forces with evil.”   --Muriel Spark, “’Frankenstein’ and ‘The Last Man’” (1951), The Informed Air (New York: New Directions, 2014), 146-147.

“Frankenstein’s monster is monstrous because he lets history too far in, going so far as to embody it instead of merely feeling it…. He certainly emblematizes the passionate attachments to archival materials that were increasingly barred from historicist methodology as the nineteenth century progressed. But he also figures history’s ability to effect shifts in bodily constitution in ways that were increasingly demonized, problematized, or disavowed.”  -- (Durham: Duke University Press, 2010), 104.

Comme des garcons

Thursday, July 9, 2015

Colors / Pink

Cabinet summer 2003- David Byrne

“Colors” is a column in which a writer responds to a specific color assigned by the editors of Cabinet.

“I adore that pink! It’s the navy blue of India,” declared Diana Vreeland, former editor of Vogue and source of many aphorisms. By this she meant that, just as navy blue in our culture tends to signify conservative respectability, pink exemplifies tradition and balance in India. The existence of universal stylistic and psychological color reactions is therefore placed in doubt: what we would consider a wild, flamboyant, and feminine color is, in India—at least according to DV—considered refined and conventional.

I asked my daughter, who is thirteen and loves the color pink, why the attraction and what it’s all about. She said it’s a “nice color,” it “looks good on me,” and “guys can’t wear pink—it makes them look stupid” (more on this later). “Pink and black look good on everybody—except redheads.” When pressed, she suggested, “Maybe it’s because of Barbie” (proof that kids are aware of the effects of marketing, branding, and advertising). “Maybe because I was given pink stuff as a baby—and maybe because it’s pretty.”...

Full Article here.
This room at the US Naval Correctional Facility in Seattle, Washington, was the first to be painted Baker-Miller pink (a.k.a. Schauss pink). Full spectrum fluorescent lights ensured that the color was not distorted. Courtesy Alexander Schauss.
... "So, back to the beginning. Girls and Boys. Far from enhancing virility and voraciousness, pink leaches it away. Was pink then marketed, post-World War II, by men to women as a girlie color in a secret effort to restrict gains made by women in the workforce during the war? To turn the newly independent earners back into passive consumers? This was all decades before the Baker-Miller research, of course, but one might go so far as to assume that the "pink effect" was unconsciously or instinctively known (except by the writers of the Ladies' Home Journal). Diana Vreeland's awareness that pink's power is culturally determined in this light looks prescient, and my daughter may buy into pink, but clearly she knows that it is being sold to her. Instinct and intuition often predate proof."

everyday

Monday, July 6, 2015

Saturday, July 4, 2015

Frankenstien the True Story 1973

Vernon Fischer


MoNSTEr 2015
oil and acrylic on paper
38 x 46 inches

Thursday, July 2, 2015